Explain the significance in the shifting of Finny's attitude about the war.

During the summer session, Finny and Gene enjoy their carefree lives at Devon as innocent, adolescent boys. As World War II begins, Gene recalls Finny saying that he does not believe the Allies bombed Central Europe. Gene explains Finny's reasoning by saying,

Bombs in Central Europe were completely unreal to us here, not because we couldn’t imagine it—a thousand newspaper photographs and newsreels had given us a pretty accurate idea of such a sight—but because our place here was too fair for us to accept something like that. We spent that summer in complete selfishness, I’m happy to say (Knowles 12).

Later on, Gene becomes envious of Finny and misinterprets their friendship. Gene then shakes the branch of a tree, making Finny fall and break his leg. After Finny breaks his leg, he can no longer participate in the activities preparing the students for enlisting in the military, and he feels left out. Finny refuses to believe that World War II is happening and tells Gene that the entire war is a conspiracy created by old men.
Toward the end of the story, Finny ends up reinjuring his leg when he attempts to escape from the mock trial held by the boys, where he realizes that Gene purposely made him fall. In chapter 12, Gene visits Finny in the infirmary, and Finny finally acknowledges that there is a war. Finny tells Gene that he has been desperately trying to enlist in any branch of the military. Finny says,

I’ll hate it everywhere if I’m not in this war! Why do you think I kept saying there wasn’t any war all winter? I was going to keep on saying it until two seconds after I got a letter from Ottawa or Chungking or some place saying, "Yes, you can enlist with us" (Knowles 103).

Gene responds by telling Finny that he would be a terrible soldier because he would make friends with the enemy and end up playing cards with them in the middle of a battle.
The shifting of Finny's perception regarding the war illustrates his diminishing innocence. In the summer session, Finny doubts that there is war simply because he is naive and preoccupied with the tranquil setting of Devon in the summer. After Finny breaks his leg, he refuses to acknowledge the war in an attempt to protect his emotions. Finny finally accepts that there is a war and that he will not be able to participate because of his serious injury. The fact that Finny finally acknowledges that there is a war reveals his loss of innocence and emphasizes his emotional pain.

Why did Montresor feel sick at the end?

Montresor does not experience satisfaction with the perfect crime he has committed. Instead he says:

My heart grew sick; it was the dampness of the catacombs that made it so.

He has called to Fortunato several times without getting a response. He is now all alone in the Stygian catacombs. This is perhaps the first indication that he feels any guilt or pity. He does not appear to want to admit that he feels anything but hatred for his victim and satisfaction for his accomplishment. So he attributes the heart-sickness he feels to the dampness of the catacombs. But the reader might feel that this is nothing more than a rationalization. Montresor has been down in these catacombs for a long while and didn't feel any such sickness before. It seems appropriate that Montresor should say that his heart grew sick, since the reader would be experiencing a similar feeling at this point in the story.
The author, Edgar Allan Poe, has achieved the "single effect" he was aiming for. Now it seems like he wants to end his story as quickly as possible. The "heart-sickness" he attributes to his protagonist enables Poe to "wrap up" his story in a few words. Montresor says:

I hastened to make an end of my labour. 

We might think that Montresor just wants to get away from the ghastly and oppressive scene of his crime. In only three more sentences he finishes the wall-building, plasters the entire wall over with mortar on the outside, and replaces the rampart of bones he had previously torn down. Then in only one more sentence he leaps forward fifty years and informs the reader that his victim's body has never been discovered. Did Montresor's own abhorrence at his crime cause his heart to become sick, and did that sickness motivate him to finish the job as quickly as possible? Or did he truly not feel guilt or remorse? Ultimately, it's up to the reader to decide.
 

How are the duke’s actions toward his listener in the poem consistent with the duke’s behavior toward his last duchess? Cite details from “The Last Duchess” to support your answer.

The duke effectively controls his conversation with the Count's emissary completely, just as he attempted to control his last duchess. He talks and talks, and his auditor never has a chance to get a word in edgewise. We only learn who the Duke is actually talking to in the last eight lines of the poem, when he references "The Count" who is the "master" of the man to whom he speaks.
We learn, quite late, that the duke is looking to remarry, as he brings up the subject of a dowry. He seems to have begun speaking with little to no prompting, and he goes on and on about his last duchess, his problems with her personality, and even what he did to resolve those problems. He controls her completely now, as her lifelike portrait is hidden by a "curtain" that "none puts by" except for the duke; he gets to decide who sees her face with its nearly ever-present "spot / Of joy." In her life, the duke was unable to control her, and it angered him that "she ranked / [His] gift of a nine-hundred-years-old name / With anybody's gift." Unwilling to "stoop" by explaining his feelings toward her, the duke admits that he "gave commands; / Then all smiles stopped together." It seems, then, that he had her killed so that he could start over with another duchess. Just as his will overpowered hers during her life, the duke's will overpowers his auditor's during this rather one-sided conversation.

Single Variable Calculus, Chapter 7, 7.7, Section 7.7, Problem 44

Determine the derivative of $\displaystyle y = x \tan h^{-1} x + \ln \sqrt{1 - x^2}$. Simplify where possible.


$
\begin{equation}
\begin{aligned}

y' =& \frac{d}{dx} (x \tan h^{-1} x) + \frac{d}{dx} (\ln \sqrt{1 - x^2})
\\
\\
y' =& \left[ x \cdot \frac{d}{dx} (\tan h^{-1} x) + \tan h^{-1} x \cdot \frac{d}{dx} (x) \right] + \frac{1}{\sqrt{1 - x^2}} \cdot \frac{d}{dx} (\sqrt{1 - x^2})
\\
\\
y' =& x \cdot \frac{1}{1 - x^2} + \tan h^{-1} x + \frac{1}{(1 - x^2)^{\frac{1}{2}}} \cdot \frac{d}{dx} (1 - x^2)^{\frac{1}{2}}
\\
\\
y' =& \frac{x}{1 - x^2} + \tan h^{-1} x + \frac{1}{(1 - x^2)^{\frac{1}{2}}} \cdot \frac{1}{2} (1 - x^2)^{\frac{-1}{2}} \cdot \frac{d}{dx} (1 - x^2)
\\
\\
y' =& \frac{x}{1 - x^2} + \tan h^{-1} x + \frac{1}{(1 - x^2)^{\frac{1}{2}}} \cdot \frac{1}{\cancel{2}} (1 - x^2)^{\frac{-1}{2}} \cdot -\cancel{2} x
\\
\\
y' =& \frac{x}{1 - x^2} + \tan h^{-1} x - \frac{x}{(1 - x^2)^{\frac{1}{2}} (1 - x^2)^{\frac{1}{2}}}
\\
\\
y' =& \cancel{ \frac{x}{1 - x^2} } + \tan h^{-1} x - \cancel{ \frac{x}{1 - x^2} }
\\
\\
y' =& \tan h^{-1} x

\end{aligned}
\end{equation}
$

What does George Bush mean by "night fell on a different world"?

George W. Bush quoted the words you have cited* in an address to a joint session of Congress and the American people on September 20, 2001, nine days after the horrific acts of terrorism inflicted upon the country on September 11 of that year. A link to the full speech is included below this response, and the immediate context surrounding the quote reads as follows:

Americans have known the casualties of war—but not at the center of a great city on a peaceful morning. Americans have known surprise attacks—but never before on thousands of civilians. All of this was brought upon us in a single day—and night fell on a different world, a world where freedom itself is under attack.

By asserting that the world drastically changed during the course of one single day, the President calls attention to the extreme effects of the four coordinated terrorist attacks that unfolded in the US on the morning of September 11, 2001. A weekday that began unremarkably concluded with a death count of almost 3,000 innocent people, impacted the lives and well-being of countless others, and had long-lasting effects on New York City, the United States, and the entire world. In this speech, the President attributes the attacks to "a fringe form of Islamic terrorism" and introduces the al Qaeda terrorist organization, it's then-leader Osama bin Laden, and the Taliban regime of Afghanistan to the forefront of national consciousness. The term "war on terror" was popularized as a result of this speech, in which the President vows to "stop [terrorism], eliminate it, and destroy it where it grows." The quote notably and accurately describes a terrifying, exhausting day that forever impacted the world.
*When completing this assignment, note that although your original question names the President as "George Bush," it is important to cite his middle initial in order to distinguish between the two presidents bearing that name.
https://georgewbush-whitehouse.archives.gov/news/releases/2001/09/20010920-8.html

How is the fascination of the children with Madame reminiscent of “Frankenstein”?

Both Never Let Me Go by Ishiguro and Frankenstein by Shelley are works of science fiction. Madame in the former novel is reminiscent of Victor Frankenstein in the latter because both characters represent creators to their creations (whether or not that is literally true) and other characters in the novels seek answers from both Madame and Victor.
Let's start with Frankenstein. Victor builds a creature from the body parts of the dead and brings the creature to life. Horrified by what he deems his monster, Victor abandons his creation; the creature must then fend for itself, almost like a baby, and learn how to function in the world around him. Eventually, the creature learns language by observing the De Lacey family and begins to read. Among other symbolic texts like Paradise Lost, the creature reads a journal written by Victor. He learns about how he was made, and this makes the creature believe Victor may have some answers for him that might help him make sense of his identity. He also recognizes that Victor is ashamed of him and has abandoned him, so he thinks he may be able to make demands of Victor. He pleads with Victor to make him a female companion and threatens Victor if he does not do so. Even though Victor reluctantly agrees, he ends up destroying the creation, which results in the original creature's murderous vindictive rampage. The rejection of the creator is met with rage from the creation.
In Never Let Me Go, Madame serves a similar purpose in some ways, though the characters in Ishiguro's novel do not react in such an extreme way when they finally confront Madame. The narrator Kathy, and her friends Ruth and Tommy, along with many other young people, are raised in a school called Hailsham. They are isolated from the outside world. Madame, who is some sort of authority figure, visits the school at times, and the students must be on their best behavior. Eventually, when the students figure out they are clones and have been manufactured to supply organs to "real" humans, they assume Madame is something like a creator. They want to know more from her, but Tommy and Kathy in particular approach her with a request: they have heard a rumor that students who are truly in love can have their operations/transplants put off for a time. They decide to go to Madame's house to pursue this possibility. Of course, they learn that there is no such exception and Madame and other authorities of the school marvel at the silly rumors that circulate about Madame and her powers. Since so much of their youth is shrouded in secrecy, it's no wonder that Kathy and the others invent or hope for solutions to their fates. While they are obviously disappointed to hear there is nothing Madame can do for them, Tommy and Kathy do not rebel; they simply play their given roles.
In both novels, Victor and Madame are creators or authorities to whom the inferior characters or creations appeal for help and for information. While the characters serve similar functions in the novels, their refusal or inability to really help the creature, Kathy, Tommy, or any of the other clones, is met with vastly different reactions in each text.

Why might Ray Bradbury have used Rima as the antithesis of the lions in "The Veldt"?

There are many reasons why Ray Bradbury used Rima as the antithesis to the lions in his 1950 short story "The Veldt." 
Rima is a character created by Wiliam Henry Hudson in his 1904 work entitled Green Mansions. The story is set in the Guyana jungle in Venezuela. The jungle setting itself is the antithesis of the African savannah in which the lions in Bradbury's story dwell. Where the savannah is raw, dry, and unyielding, the jungle is lush, fragrant, and enchanting. 
Rima is a gentle young woman who speaks in a musical, birdlike language, and can communicate with birds. In the book, Green Mansions, Rima chases game animals away, and the local Indians wish to kill her for this. The Indians are predators, and Rima disperses their prey. In "The Veldt," the children are like predators, and Rima is chasing off their prey, replacing the lions that are being trained to destroy their parents. In the following quote from "The Veldt," Bradbury foreshadows the impending plot the children are concocting:

In the middle of the night he was still awake and he knew his wife was awake. "Do you think Wendy changed it?" she said at last, in the dark room.
"Of course."
"Made it from a veldt into a forest and put Rima there instead of lions?"
"Yes."
"Why?"
"I don't know. But it's staying locked until I find out."
"How did your wallet get there?"
"I don't know anything," he said, "except that I'm beginning to be sorry we bought that room for the children. If children are neurotic at all, a room like that -" 

Rima is different from Peter and Wendy in that she enjoyed a very close relationship with her mother for the first seven years of her life. There is no textual evidence to suggest that Peter and Wendy ever had a close relationship with their parents. George Hadley says they never lifted a finger to correct them and, as a result, were "insufferable." 
Another way Rima is an antithesis to the lions is that when she appears in the nursery, she is surrounded by lush, green beauty and purple mountains. There is a river flowing nearby. Rima is hiding in the trees singing a song so beautifully that it moves them to tears. This is the gentle and peaceful scene George and Lydia expected from the nursery. It is in stark contrast to the African Veldt, where the sun is hot and punishing, smells of animals and death pervade, and lions are devouring their prey. 
Another interesting parallel is that in Green Mansions, the character known as Mr. Abel sees a savannah near the jungle and is interested in exploring it. The natives believe the savannah to be haunted and refuse to go near it. This parallels Lydia Hadley's feelings of foreboding in the African Veldt.

What are the atoms and/or monomers that make up proteins?

Proteins are relatively large and complex molecules essential for life. They are classified as biomolecules - along with carbohydrates and DNA and RNA, other molecules that are necessary for life. 
Proteins are essentially polymers - that is, they are made up of certain building blocks that are simply used over and over along the chain of the molecule, in this case protein. These building blocks, or monomers, in the case of proteins are molecules referred to as amino acids. By breaking down this name, it can be inferred what it is made of - amino referring to the amino group  (-NH2), and acid to the carboxylic acid group (-COOH).
The amino is a base, while COOH is an acid. The amino group can protonated to form -NH3+. Meanwhile, the acid group, COOH, can be deprotonated to form the conjugate base -COO-. Amino acids at physiological pH (around 7) will have this form. They are neutral but contain an equal number of positive and negative charge - they are zwitterions.
These two functional groups are connected to a central alpha carbon. There are 20 amino acids that are essential for life. Of these 20, 19 have a chiral alpha carbon. The presence of this chiral center makes amino acids asymmetric, and are non-superimposable with their mirror images. In simple terms, a carbon will be chiral if it is attached to four unique groups. As mentioned, 19 of the essential amino acids are chiral and hence have a central alpha carbon attached to 4 different groups. The first two groups are the two main functional groups making up amino acids. The other two are 1) a hydrogen, and 2) an R group referred to as a side chain. The only amino acid that does not have a chiral carbon is glycine, because the R group is another hydrogen. 
So far, it is evident that amino acids are composed of atoms of carbon (C), hydrogen (H), oxygen (O), and nitrogen (N). In fact, this makes up most of proteins. The only other atom that may be found in proteins is sulfur (S) and it is present in the side chain of two amino acids, namely cysteine and methionine. 
----
In brief, proteins are made up of monomers called amino acids. These amino acids are molecules composed of atoms of carbon, hydrogen, nitrogen, oxygen, and in some cases, sulfur. Amino acids, the monomers, are connected via peptide bonds, to form the polymer that is the protein. 
http://www.biology.arizona.edu/biochemistry/problem_sets/aa/aa.html

https://ghr.nlm.nih.gov/primer/howgeneswork/protein

Who cries saying "it was all a joke"? why?

Although the person who says it was all a joke is only identified as "the boy," we can be confident it is William. We know this because it is William who asks Margot what she is looking at as she stares at the rain. Later on, when "the boy" addresses her:

Then, for the first time, she turned and looked at him.

William seems to have a special hostility to her and react to her look reading in it her desire for the sun. He responds to her look out of his envy that she has experienced something he hasn't. When he says the sun coming out is a joke, he wants to deny her the pleasure she is anticipating. William is the one who orchestrates locking Margot in the closet so that she misses the hour of sunlight.

How is Aunt Alexandra a good mother figure to Scout?

Aunt Alexandra is highly critical of how her brother raises his children. In her opinion, he lets them run wild; he doesn't set appropriate boundaries for their behavior; he teaches them the wrong values; all in all, he isn't doing a very good job of bringing them up properly. Alexandra is especially scathing of how Atticus has raised Scout. Atticus's sister has a rather old-fashioned understanding of how women and girls should behave. She sees herself as a fine, upstanding Southern lady and wants Scout to grow up to be just like her. But as Scout's such a tomboy, always running wild and getting into scrapes and adventures with the boys, that seems like a pretty tall order.
On the whole, Aunt Alexandra is an inadequate stand-in mother for Scout and Jem, but in some ways she supplies the deficiencies of her brother's parenting skills. Setting boundaries for children is very important, and no one needs to tell that to Alexandra. The problem is that the boundaries she sets are a little too restrictive; they don't allow Scout and Jem to go out into the world and explore and discover new things about themselves and their surroundings.

What is the meaning of eternity in "Death, be not proud" by John Donne?

John Donne doesn't really address the idea of eternity directly in this poem. However, the whole poem flirts with the concept and uses it as a means of arguing that Death should not be "proud," because actually those Death encounters will never be killed by him. The reason for this is that Donne—and most other Christians of that era—believed in the idea of an eternity spent with God, which would, as it were, follow Death.
Towards the end of the sonnet, Donne expresses this by saying that it is actually Death itself which will die in the end: for the people who have died, they experience Death only as something temporary, a "short sleep." After this sleep, they will "wake eternally," having, as it were, survived death and moved beyond it into the world afterwards. Death itself may continue eternally to take people from the mortal coil, but it (or he) will always be defeated by the eternity with God which follows, and which Christians know will be coming after the short sleep of death has passed.

John Donne's "Death, be not proud," or Holy Sonnet 10, is a poem written in the form of an Italian sonnet. It is narrated in the first person. The narrator directly addresses Death, a figure personified in the poem. The concept of eternity is mentioned in the poem's last two lines.

One short sleep past, we wake eternally
And death shall be no more; Death, thou shalt die.

The key to understanding the meaning of eternity in this poem is to know that Donne, born into a Roman Catholic family, converted to Anglicanism and was, in 1615, ordained as a priest in the Church of England. This means he is writing not just as a Christian, but as a theologically knowledgeable cleric, and distinguished preacher whose sermons are still widely read. 
Donne's concept of eternity assumes the immortality of the soul. He points out that although our body dies, our souls live on eternally (either in Heaven or Hell); thus, the triumph of death is only apparent and temporary, affecting our physical rather than spiritual selves.
In Christian theology, death itself is only temporary and will no longer exist after the Last Judgement. Paradoxically, while human souls live on forever, according to Christian theology, death itself "dies" or ceases to exist permanently.

Do you trust Zinn? Why or why not?

Howard Zinn (August 24, 1922 – January 27, 2010) was an historian and political scientist with a PhD in history from Columbia University who had a long and distinguished career as a professor. As well as his popular works, he published scholarship in peer-reviewed journals. These qualifications suggest that his work will generally be factually accurate in the sense that he will get dates correct, spell names correctly, and be a generally reliable recounter of empirical information; he won't make the sort of errors that a high school student would make. That doesn't mean his interpretations of the events he discusses should be taken as anything more than one thinker's understanding of those events. 
Interpretation is not a matter of trustworthiness but of persuasiveness. Zinn has a particular political stance and interprets events through that lens. As he is an influential and original thinker, his ideas are worth serious consideration. One should never, though, "trust" interpretations wholesale, but one should think for oneself, reading a wide range of different interpretations and primary materials, and then basing one's thinking about history on careful and judicious examination and reflection of multiple viewpoints rather than blind trust of some one individual.
A People's History of the United States is a popular textbook rather than a work of scholarship, and thus it tends to generalize more than works written for an audience of specialists. Thus although it makes for an interesting introductory text, that is not the same as meticulous scholarship that attempts authoritative treatment of a specific, narrow issue. 

How does Milton’s Areopagitica represent only a partial advocacy of toleration, constituting failure? How can I discuss this idea?

The approach I would take would be to challenge whether Milton's only partial advocacy of toleration renders the Aeropagitica a failure, and I would argue that in fact a work doesn't have to be perfect to be successful.
One way to start would be to note that politics is the art of the possible. Since Milton wrote the Aeropagitica specifically to advocate for the repeal of the 1643 Licensing Act, which required all works in England to pass by a censor before being published, Milton was appealing to a specific audience with a specific set of concerns. Parliament, controlled by Puritans at that time, was obsessively anti-Catholic and arguably any attempt to roll back censorship would stand no chance of approval without some safeguard against the perceived threat of a Catholic invasion. Therefore, one could argue that Milton had little choice but to add an anti-Catholic clause to his argument if he had any hope of success. Milton was also less than tolerant in arguing that a blasphemous work could be burned or destroyed after it was published. However, he was simply hoping to go back to the system that existed before the passage of the Licensing Act, an easier goal to achieve than abolishing all censorship. Since many people, then and today, would argue that (most notably in politics) half a loaf is better than none, one can make a case that asking for partial relief on censorship was better than no relief at all. To be imperfect is not necessarily to fail.  
Further, while Milton did not at the time persuade Parliament, the fact that the Aeropagitica influenced future legislation undermines the argument that its partial advocacy for tolerance was a failure. For example, the United States Constitution, following Milton's argument, specifically forbids prior restraint, which means it prohibits not allowing a book to be published in order to censor its content. Finally, Milton's argument that truth flourishes best in an atmosphere that allows all ideas to be openly debated has remained influential and, in fact, freedom of the press has become a standard way we evaluate the strength of a democracy. 

Livestrong has a number of products that it has trademarked and copyrighted, including a line of “Livestrong” exercise bikes. Now that Lance Armstrong has admitted that he lied about his use of performance enhancing drugs and medical techniques while he was a professional cyclist, can Livestrong sue Armstrong for “infringement” or “disparagement”?

The short answer is that Lance Armstrong could be sued by Livestrong for infringement or disparagement in connection with his false statements concerning his use of performance enhancing drugs and medical techniques, but neither cause of action would likely succeed. Under the U.S. legal system (other legal systems will vary), a lawsuit can be initiated by anyone or on behalf of anyone about anything. Whether a lawsuit will survive dismissal or will result in a favorable outcome are different questions. So, the better question here is whether Livestrong would prevail in a lawsuit alleging infringement and/or disparagement on the part of Lance Armstrong. To examine this, we need to break the response into two parts: the infringement issue and the disparagement issue.
 
Part 1: Infringement
Infringement is a claim that someone has made unauthorized use of the intellectual property of another. In the copyright context, infringement involves the unauthorized copying or use of all or part of a work protected by copyright. In the trademark context, infringement typically involves the passing off of goods or causing confusion as to the source of goods. Additionally, some state trademark laws, as well as federal trademark law, contain anti-dilution provisions designed to protect famous marks from activities that would impact the distinctiveness of that mark.
In the matter in question, Lance Armstrong’s admissions that he made false statements concerning his use of performance enhancing drugs and medical techniques do not appear on their face to implicate either copyright or trademark law. His admissions appear to neither copy/use protected works under copyright, nor do they attempt to pass off goods or cause confusion as to the source of goods under trademark. Further, while his admissions likely lessened the value of the intellectual property of Livestrong, the distinctiveness of Livestrong trademarks was likely not impacted; it may even be the case that any such trademarks of Livstrong are more distinctive than before due to increased notoriety. Thus, it is unlikely that either state or federal trademark anti-dilution provisions would apply.
Put more informally, Armstrong’s admissions of making false statements simply do not themselves implicate intellectual property law. Copyright and trademark law are intended to protect the value of intellectual property with respect to the unauthorized use of that property by another. They do not protect against acts that may devalue the goodwill of that intellectual property but that do not actually infringe on the intellectual property rights of the owners of the intellectual property in question.
 
Part 2: Disparagement
The tort of disparagement is a claim brought when someone has made a false statement or statements against a business and said false statement or statements  incur an economic injury for the business (it is not a claim made with respect to intellectual property, which the original question seems to contemplate). The typical context of a disparagement action is a person publishing (either orally or in writing) false information about a business and its products and/or practices. These false statements must have a negative impact on the economic status of the business. This contrasts with the tort of libel, which involves false statements that result in damage to the reputation of a person or business.
In the matter in question, Lance Armstrong’s admission concerning prior false statements about his athletic endeavors may have indeed had a negative impact on Livestrong’s economic interests, but the statements do not likely meet the definition of disparagement for two reasons. First, the statements admitting prior false statements were not statements about Livestrong or its operations and products/services. They were admissions that Lance Armstrong previously lied about his use of performance enhancing drugs and medical techniques during his professional cycling career. Thus, while Armstrong’s admissions may damage the value of Livestrong’s goodwill and may have a negative economic impact on Livestrong’s economic status, the admissions were not statements about Livestrong.
Second, Armstrong’s admissions are not false statements. They are true statements about his prior false statements. Even if Armstrong’s admissions could be found to be statements about the business and to have caused it economic harm, the truth of a statement is a complete defense to a disparagement claim.
 
Conclusion:
While it seems quite likely that Armstrong’s admissions regarding his prior false statements had some impact on Livestrong’s economic status and goodwill, such damages would not be compensable through an action for infringement of copyright or trademark or for the tort of disparagement.
 
Please note that the above analysis is in response to the parameters set forth in the question and merely constitutes information regarding the possible causes of actions proposed in the question. It is not a legal analysis of the situation in question, nor does it address the possibility of other causes of actions. It is intended for informational purposes only.

During the trial, what are at least five things that Heck Tate testifies happened in the case against Tom Robinson?

In Chapter 17, Sheriff Tate takes the witness stand to testify in the Tom Robinson trial. Mr. Gilmer questions Tate as to what happened on the night of November 21st. Sheriff Tate testifies that Bob Ewell called him and said that Mayella was assaulted and raped by a black man. Tate goes on to say that when he arrived, he found Mayella lying on the floor with bruises covering her face. Mayella then told Tate that Tom Robinson beat and raped her, and Sheriff Tate drove to Tom's house to arrest him. When Atticus cross-examines Tate, he asks why the Sheriff did not call a doctor. Tate testifies that there was no need to call a doctor even though she was "mighty banged up." A doctor would have determined that Mayella Ewell was not raped after examining her, which would have proved that the Ewells were lying. When Atticus asks Tate to describe Mayella's injuries, he mentions that she had bruises on her arms as well as a swollen black eye. Atticus then asks Sheriff Tate which eye was bruised, and he says it was her left eye. Tate then retracts his statement after realizing that it was Mayella's right eye that was bruised. Tate also comments that Mayella had more bruises to the right side of her body and testifies that she had finger marks around her entire throat.

What was the ghost tempted to do when the young Duke of Cheshire visited Canterville chase? What caused this temptation and what traits of his character eventually made him give up the idea?

In Chapter Four of the story, the Duke of Cheshire comes to spend one week of the holidays at Canterville Chase. On his arrival, the ghost is tempted to dress up as "The Vampire Monk," one of his "celebrated" impersonations, to scare the young Duke. This is because the Canterville ghost had once terrified the young Duke's grand-uncle, Lord Francis Stilton, in a display which became so infamous that it had to be "hushed up." As such, the Canterville ghost is keen to show that he has not "lost his influence" over the Stilton family.
After making his preparations, however, the ghost gives up the idea of scaring the young Duke when he realises that he might meet with the twins, if he leaves his room. It is, therefore, his fear of the twins and fear of being humiliated which stops him in his tracks. 

Precalculus, Chapter 5, 5.4, Section 5.4, Problem 40

It is in the form of (tan A + tan B)/(1 - tan A * tan B)
that is equal to tan (A + B)
It is clear from the question, that A = 25^0 , B = 110^0
therefore tan(A+B) = tan(25^0 + 110^0)
= tan(135^0)
= tan(pi - 45^0)
= - tan(45^0)
= -1

How does Huck mature?

Huck matures through facing the moral dilemma of whether he should help Jim escape slavery. All his life, Huck's society has taught him the warped morality that helping a slave escape is a great evil. Nevertheless, he does help Jim. For a long time, he doesn't think about it much. He doesn't fully wrestle with the moral issues. But when he does, he learns to think for himself and make his own moral decisions. Although he fears he will be condemned to hell for it, he trusts his own inner voice. This voice tells him that the friendship with Jim and the many ways Jim has shown himself to be a loyal, worthy, and exemplary, if imperfect, human being are far more important to him than the racism he has been taught. For Huck, the quality of Jim's character counts for far more than the color of his skin.
We mature into adulthood as we become capable of making moral decisions for ourselves rather than simply relying on the authority of our elders. In one of the most famous and moving passages in the novel, Huck thinks very hard just as he is about to reveal Jim's whereabouts:
And [I] got to thinking over our trip down the river; and I see Jim before me all the time: in the day and in the night-time, sometimes moonlight, sometimes storms, and we a-floating along, talking and singing and laughing. But somehow I couldn't seem to strike no places to harden me against him, but only the other kind. I'd see him standing my watch on top of his'n, 'stead of calling me, so I could go on sleeping; and see him how glad he was when I come back out of the fog; and when I come to him again in the swamp, up there where the feud was; and such-like times; and would always call me honey, and pet me, and do everything he could think of for me, and how good he always was; and at last I struck the time I saved him by telling the men we had smallpox aboard, and he was so grateful, and said I was the best friend old Jim ever had in the world, and the only one he's got now; and then I happened to look around and see that paper.
It was a close place. I took it up, and held it in my hand. I was a-trembling, because I'd got to decide, forever, betwixt two things, and I knowed it. I studied a minute, sort of holding my breath, and then says to myself:
“All right, then, I'll go to hell”—and tore it up.

Single Variable Calculus, Chapter 4, 4.3, Section 4.3, Problem 14

Suppose that $f(x) = \cos^2 x - 2 \sin x, \quad 0 \leq x \leq 2\pi$
a.) Determine the intervals on which $f$ is increasing or decreasing.
b.) Find the local maximum and minimum values of $f$.
c.) Find the intervals of concavity and the inflection points

a.) If $f(x) = \cos^2x - 2 \sin x$; then
Recall that $\cos^2 x = 1 - \sin^2x$
So, $f(x) = 1 - \sin ^2 x - 2 \sin x$


$
\begin{equation}
\begin{aligned}
f'(x) &= -2 \sin x \cos x - 2 \cos x && \Longleftarrow \text{(By using Chain Rule)}\\
\\
f''(x) &= 2 \left[ \sin x - (-\sin x) + \cos x (\cos x)\right] && \Longleftarrow \text{(By using product Rule)}\\
\\
f''(x) &= 2 \sin^2 x - 2 \cos^2 x + 2 \sin x
\end{aligned}
\end{equation}
$

Again, recall that


$
\begin{equation}
\begin{aligned}
f''(x) &= 2 \sin^2 x - 2 ( 1 - \sin^2 x ) + 2 \sin x\\
\\
f''(x) &= 2 \sin^2 x - 2 + 2 \sin^2 x + 2\sin x\\
\\
f''(x) &= 4 \sin^2 x + 2 \sin x - 2
\end{aligned}
\end{equation}
$


To find the critical numbers, we set $f'(x)= 0$, so...

$
\begin{equation}
\begin{aligned}
0 &= - 2 \sin x \cos x - 2 \cos x\\
\\
\cancel{2} \sin x \cancel{\cos x} &= \cancel{2}\cancel{\cos x}\\
\\
0 &= -2 \cos x ( \sin x + 1 )
\end{aligned}
\end{equation}
$


$
\begin{equation}
\begin{aligned}
\text{we have } \cos x &= 0 && \text{and} & \sin x + 1 &= 0\\
\\
x &= \frac{\pi}{2} + 2 \pi n && \text{and} & x &= \frac{-\pi}{2} + 2 \pi n
\end{aligned}
\end{equation}
$

Where $n$ is any integer.

For the interval $0 \leq x \leq 2 \pi$, the critical number are $\displaystyle x = \frac{\pi}{2} \text{ and } x = \frac{3\pi}{2}$
Hence, we can divide the interval by...

$
\begin{array}{|c|c|c|}
\hline\\

\text{Interval} & f'(x) & f\\
\hline\\
\\
\displaystyle 0 < x < \frac{\pi}{2} & - & \displaystyle \text{decreasing on } \left( 0, \frac{\pi }{2}\right)\\
\hline\\
\\
\displaystyle \frac{\pi}{2} < x < \frac{3\pi}{2} & + & \displaystyle \text{increasing on } \left(\frac{\pi}{2}, \frac{3\pi}{2} \right)\\
\hline\\
\\
\\
\\
\\
\displaystyle \frac{3\pi}{2} < x < 2\pi & - & \displaystyle \text{decreasing on } \left( \frac{3\pi}{2}, 2\pi \right)\\
\\
\hline
\end{array}
$


These data are obtained by substituting any values of $x$ to $f'(x)$ within the specified interval. Check its sign, if its positive, it means that the curve is increasing on that interval. On the other hand, if the sign is negative, it means that the curve is decreasing on that interval.

b.) We will use the Second Derivative test to determine the points of inflections...
So when $\displaystyle x = \frac{\pi}{2}$

$
\begin{equation}
\begin{aligned}
f'' \left( \frac{\pi}{2} \right) &= 4 \sin^2 \left( \frac{\pi}{2} \right) + 2 \sin \left( \frac{\pi}{2} \right) - 2\\
\\
f''\left( \frac{\pi}{2} \right) &= 4
\end{aligned}
\end{equation}
$


when $\displaystyle x =\frac{3\pi}{2} $

$
\begin{equation}
\begin{aligned}
f'' \left( \frac{3\pi}{2} \right) &= 4 \sin^2 \left( \frac{3\pi}{2} \right) + 2 \sin \left( \frac{3\pi}{2} \right) - 2\\
\\
f'' \left( \frac{3\pi}{2} \right) &= 0
\end{aligned}
\end{equation}
$


Since $\displaystyle f'\left( \frac{\pi}{2} \right) = 0$ and $\displaystyle f'' \left( \frac{\pi}{2} \right) > 0, f \left( \frac{\pi}{2} \right) = -2$ is a local minimum. On the other hand, since $\displaystyle f'\left( \frac{3\pi}{2} \right) = 0, \left( \frac{3\pi}{2} \right) = 2$ is a local maximum

c.) We set $f''(x) = 0$, to determine the point of inflections...

$
\begin{equation}
\begin{aligned}
f''(x) = 0 &= 4 \sin^2 x + 2 \sin x - 2\\
\\
0 &= 4 \sin^2 x + 2 \sin x - 2
\end{aligned}
\end{equation}
$

By factoring,
$0 = (4 \sin x - 2) (\sin x + 1)$
We have,

$
\begin{equation}
\begin{aligned}
4 \sin x - 2 &= 0 &&\text{and}& \sin x + 1 &=0\\
\\
\sin x &= \frac{1}{2} &&& \sin x &= -1\\
\\
x &= \sin^{-1} \left[ \frac{1}{2} \right] &&& x &= \sin^{-1} [-1]\\
\\
x &= \frac{\pi}{6} + 2\pi n &&& x &= \frac{-\pi}{2} + 2 \pi n \quad; \text{where } n \text{ is any integer}
\end{aligned}
\end{equation}
$


For the interval $0 \leq x \leq 2 \pi$, the point of inflections are...
$\displaystyle x = \frac{\pi}{6}, x = \frac{5\pi}{6} \text{ and } x = \frac{3\pi}{6}$

Let's divide the interval to determine the concavity...


$
\begin{array}{|c|c|c|}
\hline\\
\text{Interval} & f''(x) & \text{Concavity}\\
\hline\\
0 < x < \frac{\pi}{6} & - & \text{Downward}\\
\hline\\
\displaystyle \frac{\pi}{6} < x < \frac{5\pi}{6} & + & \text{Upward}\\
\hline\\
\displaystyle \frac{5\pi}{6} < x < \frac{3\pi}{6} & - & \text{Downard}\\
\hline\\
\displaystyle \frac{\pi}{6} < x < 2 \pi & + & \text{Upward}\\
\hline
\end{array}
$


These values are obtained by evaluating $f''(x)$ within the specified interval. The concavity is upward when the sign of $f''(x)$ is positive. On the other hand, the concavity is downward when the sign of $f''(x)$ is negative.

How can I write an essay comparing The Call of the Wild and "To Build A Fire?"

"To Build A Fire" and the The Call of the Wild are similar in that they are about how men and dogs help each other survive. Both the unnamed protagonist of "To Build A Fire" and Thornton in The Call of the Wild rely on dogs to survive, and their dogs rely on them. In the end, however, it is only when men truly love their dog that the dog actually helps them survive.
The unnamed dog in "To Build A Fire" is wiser about surviving in the frozen Yukon than the unnamed man he is traveling with. London writes of the dog:

"The animal was depressed by the tremendous cold. It knew that it was no time for travelling. Its instinct told it a truer tale than was told to the man by the man’s judgment."

The dog knows that the man should be trying to build a fire to survive in the frigid temperatures, but while waiting for the man to build this fire, the dog is forced to tread across a frozen creek bed. The dog is reluctant to go because he feels no connection to the man. As London writes, "there was no keen intimacy between the dog and the man." In other words, the dog and the man have not really come to love and trust each other.


When he fails to build a fire, the protagonist wants to kill the dog and bury himself within the dog's body to thaw himself out and then rebuild his fire. However, when he calls the dog, the dog senses something strange: 
 

"He spoke to the dog, calling it to him; but in his voice was a strange note of fear that frightened the animal, who had never known the man to speak in such way before."

 
The man then realizes that he can't kill the dog because he doesn't have use of his hands. The dog breaks away from the man, snarling, and after the man dies, the dog "turned and trotted up the trail in the direction of the camp it knew, where were the other food-providers and fire-providers." The dog and the man have never truly developed an affinity for each other because the man only sees the dog in utilitarian terms; therefore, in the end, the dog does not want to help the man.
 
In The Call of the Wild, however, the dog, Buck, develops a deep connection to Thornton after Thornton rescues Buck from cruel owners. London writes of Buck, "Love, genuine passionate love, was his for the first time." After Thornton shows this type of concern for Buck, Buck is entirely devoted to him. London writes, "Buck's love was expressed in adoration. While he went wild with happiness when Thornton touched him or spoke to him, he did not seek these tokens." In other words, Buck doesn't even need treats from Thornton because he loves his owner so much.
 
As Thornton has shown so much concern for Buck, the dog helps Thornton and even saves his life. When Thornton is thrown out a boat and is being carried down river, "Buck had sprung in on the instant; and at the end of three hundred yards, amid a mad swirl of water, he overhauled Thornton." Buck rescues Thornton not just out of a sense of instinct but because Buck loves Thornton. In both stories, men and dogs play vital protective roles for each other, but only when the dog truly loves the man, as Buck loves Thornton, is the dog willing to sacrifice his life for his owner. 

College Algebra, Chapter 7, 7.2, Section 7.2, Problem 36

Find $x$ and $y$ if $\displaystyle 3 \left[ \begin{array}{cc}
x & y \\
y & x
\end{array} \right] = \left[ \begin{array}{cc}
6 & -9 \\
-9 & 6
\end{array} \right]$

Since the two matrices are equal, corresponding entries must be the same. So we must have $3x = 6$ and $3y = -9$. Then,


$
\begin{equation}
\begin{aligned}

x =& \frac{6}{3}
\qquad \text{Divide by } 3
\\
\\
x =& 2

\end{aligned}
\end{equation}
$


and


$
\begin{equation}
\begin{aligned}

y =& \frac{-9}{3}
\qquad \text{Divide by } 3
\\
\\
y =& -3

\end{aligned}
\end{equation}
$


Therefore,

$\displaystyle 3 \left[ \begin{array}{cc}
2 & -3 \\
-3 & 2
\end{array} \right] = \left[ \begin{array}{cc}
6 & -9 \\
-9 & 6
\end{array} \right]$

College Algebra, Chapter 7, 7.4, Section 7.4, Problem 46

Solve the system $\left\{ \begin{array}{ccccc}
2x & -5y & & = & 4 \\
x & +y & -z & = & 8 \\
3x & & +5z & = & 0
\end{array} \right.$ using Cramer's Rule.

For this system we have


$
\begin{equation}
\begin{aligned}

|D| =& \left| \begin{array}{ccc}
2 & -5 & 0 \\
1 & 1 & -1 \\
3 & 0 & 5
\end{array} \right| = 2
\left| \begin{array}{cc}
1 & -1 \\
0 & 5
\end{array} \right| - (-5) \left| \begin{array}{cc}
1 & -1 \\
3 & 5
\end{array} \right| + 0 \left| \begin{array}{cc}
1 & 1 \\
3 & 0
\end{array} \right|
\\
\\
=& 2 [1 \cdot 5 - (-1) \cdot 0] + 5 [1 \cdot 5 - (-1) \cdot 3]
\\
\\
=& 50
\\
\\
|D_x| =& \left| \begin{array}{ccc}
4 & -5 & 0 \\
8 & 1 & -1 \\
0 & 0 & 5
\end{array} \right| = 4 \left| \begin{array}{cc}
1 & -1 \\
0 & 5
\end{array} \right| - (-5) \left| \begin{array}{cc}
8 & -1 \\
0 & 5
\end{array} \right| + 0 \left| \begin{array}{cc}
8 & 1 \\
0 & 0
\end{array} \right|
\\
\\
=& 4 [1 \cdot 5 - (-1) \cdot 0] + 5 [8 \cdot 5 - (-1) \cdot 0]
\\
\\
=& 220
\\
\\
|D_y| =& \left| \begin{array}{ccc}
2 & 4 & 0 \\
1 & 8 & -1 \\
3 & 0 & 5
\end{array} \right| = 2 \left| \begin{array}{cc}
8 & -1 \\
0 & 5
\end{array} \right| - 4 \left| \begin{array}{cc}
1 & -1 \\
3 & 5
\end{array} \right| + 0 \left| \begin{array}{cc}
1 & 8 \\
3 & 0
\end{array} \right|
\\
\\
=& 2 [8 \cdot 5 - (-1) \cdot 0] - 4 [1 \cdot 5 - (-1) \cdot 3]
\\
\\
=& 48
\\
\\
|D_z| =& \left| \begin{array}{ccc}
2 & -5 & 4 \\
1 & 1 & 8 \\
3 & 0 & 0
\end{array} \right| = 2 \left| \begin{array}{cc}
1 & 8 \\
0 & 0
\end{array} \right| - (-5) \left| \begin{array}{cc}
1 & 8 \\
3 & 0
\end{array} \right| + 4 \left| \begin{array}{cc}
1 & 1 \\
3 & 0
\end{array} \right|
\\
\\
=& 2 (1 \cdot 0 - 8 \cdot 0) + 5 (1 \cdot 0 - 8 \cdot 3) + 4 (1 \cdot 0 - 1 \cdot 3)
\\
\\
=& -132



\end{aligned}
\end{equation}
$


The solution is


$
\begin{equation}
\begin{aligned}

x =& \frac{|D_x|}{|D|} = \frac{220}{50} = \frac{22}{5}
\\
\\
y =& \frac{|D_y|}{|D|} = \frac{48}{50} = \frac{24}{25}
\\
\\
z =& \frac{|D_z|}{|D|} = \frac{-132}{50} = \frac{-66}{25}
\end{aligned}
\end{equation}
$

What is Gladwell's claim in Chapter 5?

Gladwell's claim in Chapter Five is that a successful entrepreneur is the product of his place and relevance in a specific time period.
Gladwell cites the example of the New York Jewish lawyer. He claims that 1930 was the perfect year for a Jewish lawyer to be born:

Just as there is a perfect birth date for a nineteenth-century business tycoon, and a perfect birth date for a software tycoon, there is a perfect birth date for a New York Jewish law­yer as well. It's 1930, because that would give the lawyer the benefit of a blessedly small generation.

Gladwell cites the example of successful and influential Jewish lawyers born during this period. The Black Rock law firm of Wachtell, Lipton, Rosen, and Katz perfectly exemplifies Gladwell's points. During their childhood years, most of these Jewish lawyers had parents or grandparents who worked in the world-class garment industry in New York City. In their youth, these lawyers also attended exclusively New York City public schools, then the envy of the world where public schools were concerned.
In fact, Gladwell cites the typical profile of the successful New York lawyer: he must have been born in the early 1930s, he must have had parents who worked in the "economically vibrant" garment industry in New York City in the late 19th and early 20th centuries, and he must have, on account of his "antecedents," been an outsider who was able to grasp the opportunities afforded him in the time period he lived.

"There is no doubt that those Jewish immigrants arrived at the perfect time, with the perfect skills," says the sociologist Stephen Steinberg. "To exploit that oppor­tunity, you had to have certain virtues, and those immi­grants worked hard."
To come to New York City in the 1890s with a background in dressmaking or sewing or Schnittwaren Handlung was a stroke of extraordinary good fortune. It was like showing up in Silicon Valley in 1986 with ten thousand hours of computer programming already under your belt.
If you want to be a great New York lawyer, it is an advantage to be an outsider, and it is an advantage to have parents who did meaningful work, and, better still, it is an advantage to have been born in the early 1930s. But if you have all three advantages—on top of a good dose of ingenuity and drive—then that's an unstoppable combination. That's like being a hockey player born on January 1.

As Gladwell claims, "Success is not a random act. It arises out of a predictable and powerful set of circumstances and oppor­tunities." So, aside from intelligence, perseverance, and courage being necessary ingredients for success, Gladwell maintains that one's background and demographic luck matters very much in determining whether one is ultimately successful or not.
 
 
 
 
 

Though Meg struggles with being different from the other kids at school and often finds herself in trouble for questioning her teachers she is able to use her intellect to help save her father. Is this an effective topic sentence? Why or why not?

At school, Meg used her intellect to succeed academically, but her social skills were lacking. Intellectually, she was superior to most of her classmates, but this made her an outsider. On Camazotz, Meg tried to use her intellect to block out IT, reciting poems, facts, and so on. She was able to temporarily keep IT out, but it did not help her to rescue her father or Charles Wallace. Mrs. Whats-It told her that her gift was her faults, which were her anger and her impatience. These emotions helped her more than her intellect. Charles Wallace believed that his intellect would protect him if he entered into IT, but he was quickly overcome. Meg knew that her intellect was far inferior to that of Charles Wallace, and so this was not the weapon that would defeat IT. In the end, it was her love for her father and for Charles Wallace that rescued them. Meg realized that this is one thing that IT did not have and could not understand, since it was pure intellect. She had the power to love.
Therefore, this is not an effective topic sentence, since it is not how she rescued her father or Charles Wallace. It was her emotions, rather than her intellect, that helped her.

What is the relevance of the setting in the story "Borders" by Thomas King?

"Borders," a short story by Thomas King, centers on a mother of Blackfoot descent wrestling with her native identity under the crushing cultural weight of both the US and Canada—that is, nations of largely Western European roots.
The primary setting of the story is the Canadian border crossing of Coutts, a village in Alberta that has served in such capacity for over a century and continues to be one of the busiest crossings between the two countries today.
The main character is a woman named Laetitia, whose goal, along with her son, is to get over the border to visit Salt Lake City. She is established as a very strong-willed, independent, resilient character who refuses to deny her cultural identity regardless of the pressures put upon her to choose either the US or Canada.
Night after night, Laetitia and her son park their car at the duty free store after being turned away at the crossing. Her refusal to give up provides a stark picture of a person who stays true to herself at all costs and, through her, a people who will fight to maintain their identity despite outside oppressive forces (epitomized by the role of the border guards).
In this way, the border crossing setting not only acts as a physical barrier (one that serves as a literal obstacle to the protagonist's journey) but also as a philosophical one that challenges the very essence of Laetitia's being. The fact that she ultimately overcomes both obstacles is a testament to the human spirit.
https://pennersf.files.wordpress.com/2010/10/borders.pdf

Thomas King set the story “Borders” on the Canadian-American border during modern times. The narrator and his mother are Blackfoots living on a reservation in Canada. When the narrator and his mother go to visit her sister, they are required to cross the border into the United States. Crossing the border symbolizes giving up your identity and leaving your country behind. The narrator mentions dressing up for the trip because “mother did not want us crossing the border looking like Americans.”
When the pair arrive at the border crossing, the mother “drove all the way to the border in first gear, slowly, as if she were trying to see through a bad storm or riding high on black ice.” When approached by the border patrol, the mother refuses to claim her nationality as anything other than Blackfoot. Refusing to state that she is from Canada traps the duo between borders. This symbolizes the plight of the Native Americans and their lack of a true land or country. Although the mother very strongly identifies with her Blackfoot heritage, she is not allowed to claim Blackfoot as a nationality and is left in the “no man’s land” between borders until the media finally pressures the authorities to allow the two to cross. This story makes a very strong statement about the Native Americans and their fight for autonomy and identity while living as part of another nation.

"Borders," written by Thomas King, is aptly named since the majority of the plot takes place on the Canadian-American border and since readers are encouraged to consider the implications of instituting strict borders. The narrator and his mother are dual Blackfoot Indian and Canadian citizens, and thus they are able to freely to pass between these two places. Trouble arises when they attempt to cross from Canada to the United States; the mother identifies solely as Blackfoot and relays this to border agents, who refuse to accept her answer and will not let the travelers pass.
The narrator and his mother are trapped in a place of limbo between borders for several days, unable to enter the US or reenter Canada until news media arrives and they are at last permitted to continue their journey. The two borders crossed in the story have drastically different implications for the travelers; the first is inconsequential since it does not challenge the mother's identity, whereas the second demands that she fit into the mold of another culture and disrupts life for the small family. The story urges readers to ponder the very nature of borders, and important themes of identity, self-respect, and citizenship are all woven into the story's setting.

Did Winston know that O’Brien was a part of the Party or not?

The answer to this is not a straightforward one. Initially, Winston does not know that O'Brien is really working on behalf of the Party. This is shown by the fact that he visits his apartment and receives from him a copy of Goldstein's book. In addition, in part 3, chapter 1, when Winston is imprisoned in the Ministry of Love, he wonders if O'Brien has also been caught and arrested. When O'Brien finally visits Winston in his cell, Winston says:

"They’ve got you too!" he cried.

This shows that Winston has no idea that O'Brien works for the Party. However, in the next paragraph, Winston admits that deep down, he always knew that O'Brien was working for the Party:

Yes, he saw now, he had always known it.

This suggests that instead of realizing that O'Brien really was a member of the Inner Party, working on behalf of Big Brother, Winston allowed himself to be lulled into a false sense of security. Why? Because Winston was desperate to rebel. He so badly wants to bring down Big Brother that he lets it cloud his judgment. He chooses to believe in O'Brien, the Brotherhood, and Goldstein's book instead of realizing that he could never overcome a force as strong as the Party.

No. Winston believes that O'Brien is an ally working against the Party from the first moment he spots O'Brien's seemingly unorthodox disposition at work. Winston is intrigued by O'Brien's behavior during the Two Minutes Hate period when he makes direct eye contact with him. Winston interprets O'Brien's stare as his way of saying,

I am with you...I know precisely what you are feeling. I know all about your contempt, your hatred, your disgust. But don’t worry, I am on your side! (Orwell, 22).

Winston believes that O'Brien shares the same ideas regarding the government as him and even begins to dream about colluding with O'Brien against the Party. Later on in the novel, Winston accepts O'Brien's invitation to pick up a Newspeak Dictionary at his home. Winston and Julia even travel to O'Brien's home, where O'Brien manipulates them into believing that he is a member of the Brotherhood. Winston pledges his allegiance to the Brotherhood and accepts Emmanuel Goldstein's book. Winston is utterly surprised and disheartened to learn that O'Brien is a government spy. O'Brien then becomes Winston's main torturer in the Ministry of Love. Overall, Winston trusted and believed that O'Brien was an enemy of the Party, when O'Brien actually worked for the government. 

What does Adichie say about the word “feminism” in We Should All Be Feminists?

Adichie begins We Should All Be Feminists with a story about how, when she was fourteen, her good friend Okoloma called her a feminist. Adichie didn’t know what the word meant, but she could tell by his tone that it wasn’t meant as a compliment. When she looked it up later in the dictionary, the definition she saw was “feminist: a person who believes in the social, political, and economic equality of the sexes.” Several years later, Adichie published a novel and frequently received “advice” from strangers that she shouldn’t call herself a feminist because feminists are unhappy, unmarried, un-African, and man haters. Adichie tells these stories to demonstrate how much baggage the word feminist carries. Adichie’s point is that there are a lot of misconceptions about what it means to be a feminist. Many people wrongly associate feminism with man hating, which is especially unfortunate because it would benefit people of all sexes to believe in the ideals of equality that feminism promotes. When people ask Adichie why she doesn’t simply call herself something less controversial, such as a humanist or a supporter of human rights, Adichie responds that it would be dishonest. While feminism certainly falls under the broader umbrella of human rights, to replace feminism with vague and general terms like humanism or human rights is to deny the existence of the gender-related issues that women face. As Adichie says, “For centuries, the world divided human beings into two groups and then proceeded to exclude and oppress one group. It is only fair that the solution to the problem acknowledge that.” Ultimately, Adichie believes that being a feminist means acknowledging the existence of gender-based problems in the world and believing that everyone must work to fix these issues. 

Who could the speaker be in "Death Be Not Proud" by John Donne?

John Donne's "Death Be Not Proud" is narrated by an anonymous first person speaker. The speaker uses the personal pronoun "me." The first person plural is actually more common, occurring three times in the poem (us, our, we). What this suggests is that Donne is not trying to create a strongly individuated speaker, as would be the case in a poem emphasizing individual psychology, but rather has the speaker stand in for all or any human. The lack of individuation makes readers focus on the discussion of death as something universal and think about it within a religious context.
Although there is no clear textual evidence for the speaker having any defining characteristics other than being human (we are not informed of gender, social position, marital status, etc.), one could argue that the speaker is probably middle aged or old, as one is more likely to contemplate death as one ages and experiences the death of friends and relatives and confronts one's own mortality. 

Where does Ralph show empathy towards others in Lord of the Flies?

Ralph demonstrates his empathy toward others numerous times in Golding's classic novel Lord of the Flies. As the elected leader of the group, Ralph attempts to establish a civil society on the uninhabited tropical island. Ralph demonstrates empathy for others by sympathizing with the littluns and attempting to construct shelters on the beach. Ralph understands that the littluns fear the beast and believes that the shelters will make them more comfortable and ease their minds at night. Ralph also explores the island with Jack and his hunters to ensure the littluns that a beast does not exist on the island. In addition to showing empathy for the littluns, Ralph sympathizes with Piggy by continually standing up to Jack for threatening and intimidating him. After Jack and the majority of the boys establish their own tribe of savages at the other end of the island, Ralph begins showing more empathy for Piggy and Samneric. When Jack and his hunters steal Piggy's glasses, Ralph shows empathy by traveling with Piggy to Castle Rock, where they demand that Jack return his spectacles.

Empathy is undoubtedly one of Ralph's main characteristics, as well as one of his greatest strengths. His behavior is consistently empathetic towards the other boys throughout the story. For instance, he goes to some lengths to reassure the littluns that there isn't a savage beast roaming the island. Jack, on the other hand, is keen to maintain a general sense of fear; it will make him more powerful as the boys will instinctively look to him to protect them from the beast. Sometimes, however, Ralph's empathy can be a bit of a drawback as it leads him to make decisions that don't quite make sense. He treats Samneric (Sam and Eric), the identical twins, as one person when it comes to building a fire as he doesn't want to separate them; they do everything together. It takes the ever-rational Piggy to point out how unproductive this is.

College Algebra, Chapter 1, 1.6, Section 1.6, Problem 94

When a manufacturer sells $x$ units of a certain product, then revenue $R$ and cost $C$ in dollars are given by

$
\begin{equation}
\begin{aligned}
R &= 20x\\
\\
C &= 2000 + 8x + 0.0025 x^2
\end{aligned}
\end{equation}
$



How many units the manufacturer should sell to have a profit at least \$ 2400?
Recall that, profit = revenue - cost

$
\begin{equation}
\begin{aligned}
20x - \left(2000 + 8x + 0.0025 x^2\right) & \leq 2400 && \text{Model}\\
\\
20x - 2000 - 8x - 0.0025 x^2 & \leq 2400 && \text{Subtract } 2400\\
\\
12x - 4400 - 0.0025x^2 & \leq 0 && \text{Divide both sides by } -0.0025\\
\\
-4800x + 1760000 + x^2 & \geq 0 && \text{Factor}\\
\\
(x - 4400)(x-400) & \geq 0
\end{aligned}
\end{equation}
$


We have, $x \geq 400$ and $x \geq 4400$
It shows that if the number of units sold is in the range of (the intersection of these inequalities) is $x \geq 4400$, then the profit will be at least \$2400.

What happen in the middle part of the book?

In the middle of Andrew Clements's novel No Talking, the fifth-graders have their last day before they begin the challenge that the boys have made with the girls not to talk.
At Laketon Elementary there is a nickname that the teachers have for Dave’s class. Because the students are so loquacious and loud, they call them the "Unshushables.” So, when some of the teachers learn that all the fifth-graders are going to be silent, they are excited in their anticipation of a long desired break, especially at lunchtime. As the "No Talking" day approaches, no one is certain how the plan is going to work, including the anxious Dave. He worries about going home and how he will keep from talking; of course, he does not want to be responsible for the girls' winning the contest: "All over town, the other fifth graders are figuring out how to get along without talking" (Ch.14). Even at their homes, the students have problems because parents interpret their silence as an act of disrespect, or they worry that something is wrong. But, by the next day, the fifth-graders figure out how to communicate in different ways and how to follow the rule of using only three words if they must talk.

What epic elements do you find in Homer's Iliad?

The structure and themes of Homer's epic poem the Iliad have become the exemplar for many of the subsequent epic poems in the Western literary canon. For your assignment, consider the following "epic elements" and how they appear in the poem:
1. An epic usually begins in media res, a Latin phrase meaning "in the midst of things." The Iliad opens in the final days of a decade-long war, in the encampment of the Achaeans, who are suffering from a mysterious plague. Homer provides no formal prologue explaining how and why the Achaeans have come to this place, nor when the plague started, nor introductions of any characters. He instead goes directly to the scene which catalyzes the action of the poem, the argument between Achilles and Agamemnon:

Begin, Muse, when the two first broke and clashed,Agamemnon lord of men and brilliant Achilles.

This is because epics weave together many elements of myth and folklore into a larger narrative. The context that is missing from Homer's opening scene would already have been known to his audience, in the same way that, for instance, the legends of King Arthur or stories from the Bible are known to modern Western audiences.
2. The natural and the supernatural together make up the setting of an epic, so that the action in the story takes place not just on earth, but also in the heavens and the underworld. In the Iliad, the events on the battlefield are often affected by the events on Mount Olympus, and gods, demi-gods, nymphs, and nature spirits all help and hinder the human characters in various ways throughout the poem.
3. The main characters of an epic are larger than life, sometimes of divine or otherwise supernatural parentage, and often possessed of superhuman abilities. The Iliad's main character, Achilles, is the son of a mortal king and a sea-goddess. He is the pre-eminent warrior of all the Achaeans, referred to as "brilliant," "godlike," and "swift-footed." His Trojan counterpart, Hector, is fully human, but also described as "godlike" and "mighty," the crown prince of Troy and his city's valiant defender. Both Achilles and Hector are characters of legendary status whose virtues and faults have tremendous impact on the course of narrative. The events of the Iliad will finally bring them face-to-face at the climax of the poem, and the clash of these two heroes determines the fates of their respective armies.
4. The structure of an epic poem is a key aspect of what makes it an epic. Epics often contain epithets, descriptive phrases attached to specific people, places, or things. These were used as mnemonics by poets in the oral traditions from which the Iliad arose, and the Iliad is full of them. Examples include "gray-eyed Athena," "rosy-fingered Dawn," "Tiryns of the mighty walls," "Zeus of the lightning bolt," and "Hector, breaker of horses." Epics also tend to contain long similes describing people, places, or things; the most famous simile in the Iliad is that of Achilles's shield, which takes up the whole of Book 18. Digressions into personal histories, genealogies, and related myths are also part of the fabric of an epic, enriching the main narrative with a large amount of background information.
If you review the text with these elements in mind, you will find many more examples than the few I've given here.

Homer’s Iliad is a classic example of a literary epic. It is a long and highly detailed narrative poem set in an era long ago, and it celebrates the achievements of the hero Achilles during his adventures fighting in the Trojan War. Literary epics, as a genre, revolve around events of historical and cultural significance. The Trojan War was hugely significant in Greek history, and The Iliad not only confirms its significance, but validates the heroism of the Greeks, with Achilles the perfect model of the brave and honorable Greek warrior. The heroes in literary epics are typically mortal, or at least part-mortal, but like Achilles, they have superhuman qualities: their acts of strength, bravery, and honor are above what mortals can typically achieve. Epic heroes are often protected by the gods and aided in their mission through supernatural intervention, as Achilles was aided by Athena.
Characteristic of the literary epic, the action of The Iliad takes place on a grand scale: Everything about the story is magnified, including the appeal of the hero, the significance of the events, the formality of the language, and the setting. The story spans ten years - the course of the Trojan War, and it covers a large area of the world and extends into the realm of the supernatural. Also, true to form, the story of Achilles’ adventures is related by an omniscient narrator, one who is outside the action of the story but who speaks to readers as if he were present when the action happened and understands its importance firsthand.

The Iliad is one of the first epics and so became a model that followers have imitated for more than two thousand years. Some elements of the epic in this work include:
It begins with with an invocation to the muses.
It begins in media res: this means it begins in the middle of the action. The Iliad begins near the end of the raging Trojan War. 
It uses epithets, which are metaphors or descriptive terms repeatedly applied to a person or thing: an example would be swift-footed Achilles or rosy-fingered dawn.
The main characters are noble figures or figures with high status in society. The stars of an epic are not everyday people, fumbling fools or peasant farmers. The Iliad features the top people in the society: kings, princes, commanders and warriors. The main character, such as Achilles, is a hero. 
The hero embodies the values of the culture: Achilles is the exemplary brave and strong warrior of a warrior culture. He also has to choose between two of his culture's main values: homecoming or fame. He begs not to have to make the choice but ultimately chooses fame. 
The gods are directly involved in the action of an epic. This is definitely true of the Iliad. For instance, Hera and Athena are angry at Paris, a Trojan, so actively side against Troy in the war. And the list goes on.
It contains epic catalogues or lists. The Iliad contains a famous Catalogue of Ships and the Trojan Battle Order.
It contains long speeches.

Your technique for working on this assignment should begin with a review of your class notes on the nature of epic. Next, you should make a list of those things which your instructor says are characteristic of epic. As you read Homer, you can then note down occurrences of those elements. The most popular book of the Iliad in antiquity was Book 2, and it displays many of the traditional epic elements.
First, the Iliad was written in dactylic hexameter, the traditional meter of Greek epic. It uses epic epithets, descriptive formulae repeated in fixed metrical positions. It shows some elements of formular economy, where only a limited number of epithets applicable to an individual noun can be found in a specific metrical position. Epithets reflect the characteristic of the person being described rather than the specific situation, as when the epithet "laughing" is applied to Aphrodite when she is crying.
The Iliad is typical of the epic genre in its depiction of nobles and heroes engaged in agonistic behavior. It incorporates and passes down many of the important traditions and customs of the culture in which it was composed. It displays homeostasis in, for example, the incorporation of archaic military technology into a Mycenaean setting.

What was the turning point that ultimately led the American colonists to sever their ties and bonds to the British North American Empire?

This is a somewhat difficult question to answer because the path that led to the American Revolution does seem to resemble a gradual escalation of tensions over time. The relationship between Britain and its colonies deteriorated across the 1760s and 1770s, culminating with the Revolution itself. From that perspective, if by turning point we mean the point in which this trajectory originates, I think the answer is quite clear: it can be found in the French and Indian War. If, however, by turning point you mean the point at which revolution became irresistible, that's a more difficult question to answer.
Ultimately, I'd argue that this trajectory was shaped by the experience of the French and Indian War. After the war ended, the British government took a far more active role in administering the colonies. It introduced new taxation policies in the mid-1760s and began more strongly enforcing British mercantile law. As tensions rose in the colonies, the British sent troops to North America, which only further increased tensions.
Even so, if I was to single out any one moment in this trajectory, stretching from the end of the French and Indian War until the launch of the American Revolution, I would probably choose the Intolerable Acts of 1774, passed in reaction to the Boston Tea Party.
Under the Intolerable Acts, Boston was placed under martial law, with its harbor closed until such a time as the losses from the Tea Party had been repaid. Additionally, the Intolerable Acts required that Royal Officials charged with crimes to be tried in Britain, rather than in the colonies. Meanwhile, Massachusetts saw its Charter essentially revoked. Finally, the British Government passed a new Quartering Act, allowing British officers to requisition private property for the purpose of housing their troops.
These Acts sparked outrage throughout the colonies. Indeed, be aware that the name, "Intolerable Acts" was coined within the colonies themselves. This expresses how negatively these Acts tended to be viewed from the colonial perspective. They were collectively seen as an abuse of power by which the British government was punishing an entire colony for the actions of a very small group of people. This contributed greatly to the narrative that Britain was acting more as a tyrannical force than as a legitimate government.
Additionally, note that the Intolerable Acts sparked the first meeting of the Continental Congress. The situation would only further escalate from there.

History books generally tell us that the French and Indian War was the turning point that, eventually, led to the American Revolution and to the ultimate split between the colonies and the United Kingdom.  There are at least three reasons why this war is seen as a turning point.
First, the war gave colonists more of a feeling that they were similar to one another and different from the British.  Before the war, the colonists had generally seen themselves as citizens of their own colonies, not as Americans.  During the war, however, men who went off to fight generally mixed with men from other colonies and came to realize that they were very similar to one another.  In addition, they came to believe that they were very different from the British soldiers.  They were, for example, more independent and less willing to allow officers to mistreat them.  This reinforced in the colonists the idea that they were all similar to one another and, importantly, that they were different from the British because they loved freedom more.  All this gave them a reason to feel that they were no longer British.
Second, the war got rid of the threat of France.  Before the war, France had a large amount of territory in North America.  The colonists would have known that France might attack them if they were not protected by the UK.  For this reason, they would have been less likely to think independence was a good idea.  They would have been more likely to think that they would be too weak to protect themselves as an independent country.  When the French left North America after the war, it allowed the colonists to think that they might be able to survive if they broke away from Britain.
Finally, and most importantly, the war changed the way the British government treated the colonies.  The war was very expensive and the government wanted the colonies to pay (what it saw) as their fair share.  Therefore, the government started to impose more taxes on the colonies.  It also started to be more aggressive about trying to stop smuggling into and out of the colonies, which was a very lucrative profession for some colonists.  When the government did this, the colonists felt their rights were being violated.  The British government had not acted like this before and they had grown to feel that they had the right to be free from much taxation and the right to trade with whoever they wanted (even if it was technically illegal).  When the government changed its behavior because of the war (notably with the Stamp Act), the colonists became very angry.  This led them to want to rebel against the British.
For all of these reasons, the French and Indian War is seen as the turning point that caused the colonies to want to break away and to cut their ties to the British Empire.
http://www.let.rug.nl/usa/essays/before-1800/french-and-indian-wars/effects-of-the-war.php

https://history.state.gov/milestones/1750-1775/french-indian-war

What is naturalism in theater?

I believe that one of the best ways to define naturalism in theatre is to compare it to realism. People often think that realism and naturalism are two words that refer to the same style of theatre, seeing as the words "real" and "natural" are synonyms. While the two artistic movements do overlap, there are distinctions between the two.
Realism in theatre is exactly what it sounds like. Storylines, dialogue, characters, costumes, and settings are all realistic and fit the vision of a normal life. Theatrical spaces were set up so that the audience members would feel like they were watching characters go about their lives through the "fourth wall." Audiences liked these plays because they were character-driven, and focused on relatable people dealing with relatable problems, rather than extraordinary plots. This may not sound like anything special today, but before realism hit the stage, extreme melodramas were all the rage.
While realism can be seen as an imitation of reality, naturalism pushed to be the highest form of theatrical reality. Like realism, costumes and settings are mundane and realistic. Unlike realism, a naturalistic play would be set up as if you were watching the characters in real time, and there would be no scene changes that take the characters to a new location or a new day. While realistic plays would tend to take place over course of more than one day, watching a naturalistic play could be more like sitting in someone's kitchen for a couple of hours, listening to strangers talk about their lives.
Unlike the heroes of realism, who fight to overcome their problems, the characters of naturalistic plays are usually people who cannot change their lives, and are constrained by forces outside of their control. They are doomed to stay as they are, however unhappy they may be. If you want a good idea of what goes on in a naturalistic play, the classic example a lot of people refer to is August Strindberg's Miss Julie.
The site I have linked below has a wonderfully in-depth comparison of realism and naturalism and their origins, and is one of the few online resources I have been able to find that does not confuse theatrical realism and naturalism. I would suggest you give it a read.

In what ways did the new spirit of nationalism that emerged after the War of 1812 affect economic and judicial policies?

The new spirit of nationalism affected many parts of American life after the War of 1812. People moved farther West and took more land from the Native Americans. This led to calls for improved internal improvements in order to move raw materials in the West to the new factories in the East. After the era of Good Feelings, one of the key debates in the United States was who was to supply these internal improvements—the federal government or the states?
The rise of American industry led to more calls for tariffs in order to protect American manufacturers from European competition—mainly competition from Britain. Manufacturers were in favor of tariffs, while places that produced raw materials, such as the South which was becoming a Cotton Kingdom, disliked the tariffs because it made prices higher on consumer goods.
Increased trade and transportation improvements also led to a newfound focus on commerce. In the court case Gibbons v. Ogden in 1824, the Supreme Court ruled that states cannot interfere with Congress's power to regulate commerce. This case would have never reached the courts if American commerce did not grow considerably after the War of 1812.
In order to pay for a larger military and internal improvements, many people favored a continuation of the Bank of the United States. Westerners distrusted this bank because they said it put more power in the Northeast and they also stated that it was unconstitutional. One of Andrew Jackson's key policy decisions was not to renew the bank's charter. This ultimately led to financial collapse in 1837 under his successor, Martin van Buren.
After the War of 1812, the United States experienced unprecedented growth. Much of this growth was also tied to the economic and transportation sectors of of the economy. This growth and a new spirit of nationalism helped to shape the American identity in the years leading up to the Civil War.

The War of 1812 (1812–1815) did not settle the issue for which it was fought: freedom of the seas. However, the US emerged from the conflict with a heightened sense of patriotism and economic confidence. Because of Andrew Jackson's important victory at New Orleans in 1815, Americans mistakenly believed they had won the war.
The conflict led to the development of more manufacturing in the United States. American-made products replaced ones that had been manufactured in Britain. The development of domestic industries led to a call for higher tariffs to keep out foreign-made products.
Another economic result of the war was in the banking sector. Paying for the war had been difficult because the United States did not have a national bank. Because of this, President James Madison authorized the Second Bank of the United States.
The war was the last conflict between America and Britain. Subsequent disputes were handled by arbitration, so the war led to an increased reliance on international law.

The spirit of nationalism after the War of 1812 caused the United States to pursue a nationalist economic agenda. This agenda was named the "American System" and was advocated by Henry Clay and others.
Part of the American System involved building roads and canals to further American industrial development. Most of these roads and canals were financed by states (such as the Erie Canal in New York state), as the federal government did not think that this type of construction was part of its mission. The second part of the American System was passing high tariffs that taxed foreign goods that were imported into the United States. The tariffs were intended to protect and promote American industry.
In terms of judicial policies, the Supreme Court began to pass a series of laws that dealt with contracts. For example, in the case Dartmouth College vs. Woodward (1819), the state of New Hampshire attempted to make Dartmouth a public university, but the Supreme Court said that the state had to abide by the original charter, or contract, which had made Dartmouth private. This case and others like it furthered the development of American business by protecting the sanctity of contracts.

The conclusion of the War of 1812 brought about a sudden rise in nationalism, resulting in economic prosperity and the prestige of the national government. After the war, President Madison began to advocate for a new national bank, road and canal systems, a new national university, protection of industries, and a permanent army and navy. These bold ideas were the representation of a strong national government. 
Accordingly, in 1816, a new Bank of the United States was chartered as a response to the number of state banks which were issuing questionable paper money and flooding the market. This new bank made it easier for the United States government to borrow and transfer money and rendered the value of bank notes more certain. 
Additionally, the Tariff of 1816 became the first American tariff to be used for protection. It attempted to eliminate foreign competition by taxing foreign imports and making American manufactured goods the cheaper option. 
This period after the war was also marked by the "Era of Good Feelings," which represented a sudden decrease in political tension—from an outside perspective, at least—as the Federalist party essentially disbanded. 
Overall, the American people were confident in their country, in their country's leadership, and in their government's ability to make economic and judicial choices that would serve the best interests of the nation. 

How can I create a Venn diagram of the events in The Iliad by Homer and The Aeneid by Virgil?

Creating a Venn diagram for the events in the Iliad and Aeneid is not difficult! The purpose of the Venn diagram is to create a visual representation of the relationship between a group of things. To create a Venn diagram, you must first draw a large rectangle and label it; in your case the label is "Events in the Iliad and the Aeneid." Next, draw two partially-overlapping circles inside the triangle, and make sure you leave enough room to write inside them. Label one circle Iliad and the other Aeneid. Inside each circle, write the qualities of and events which take place in that epic but not in the other. For instance, the Iliad is credited to Homer; the Aeneid, Virgil. There are some events which take place in both books, such as the Trojan War. Write these events in the portion where the two circles overlap. You now have a visual representation of the chronological similarities and differences in the Iliad and the Aeneid. 
https://www.purplemath.com/modules/venndiag.htm

7^(3x+4)=49^(2x+1) Solve the equation.

7^(3x+4)=49^(2x+1)
To solve, factor the 49.
7^(3x+4)=(7^2)^(2x+1)
To simplify the right side, apply the exponent property (a^m)^n=a^(m*n) .
7^(3x+4)=7^(4x+2)
Since the two sides have the same base, to solve for the value of x, set the exponent at the left equal to the exponent at the right side.
3x + 4= 4x + 2
3x - 4x = 2 - 4
-x=-2
x=2
Therefore, the solution is x = 2 .

How is the king of Brobdingnag, in spite of ruling an isolated kingdom, a wise, humane, peace-loving man?

Despite ruling a physically isolated kingdom that has no real need to be concerned with anyone else because it has no neighbors, the king of Brobdingnag is very interested to learn about the laws and culture of Gulliver's home.  He is horrified when Gulliver begins to acquaint him with the customs of England, and he comes to believe that the British are selfish and warlike and dishonest "vermin."  However, even beyond his disgust, the king develops a rather violent antipathy to both Gulliver and his countrymen when Gulliver tries to tell him about the wonderful virtues of an invention called gunpowder.  Gulliver describes the great damage it can do in almost gleeful terms, speaking about men's limbs positively raining from the skies after their owners have been blown apart by gunpowder's awe-inspiring power.  The king is less than impressed.Despite ruling a physically isolated kingdom that has no real need to be concerned with anyone else because it has no neighbors, the king of Brobdingnag is very interested to learn about the laws and culture of Gulliver's home.  He is horrified when Gulliver begins to acquaint him with the customs of England, and he comes to believe that the British are selfish and warlike and dishonest "vermin."  However, even beyond his disgust, the king develops a rather violent antipathy to both Gulliver and his countrymen when Gulliver tries to tell him about the wonderful virtues of an invention called gunpowder.  Gulliver describes the great damage it can do in almost gleeful terms, speaking about men's limbs positively raining from the skies after their owners have been blown apart by gunpowder's awe-inspiring power.  The king is less than impressed.

Despite ruling a physically isolated kingdom that has no real need to be concerned with anyone else because it has no neighbors, the king of Brobdingnag is very interested to learn about the laws and culture of Gulliver's home.  He is horrified when Gulliver begins to acquaint him with the customs of England, and he comes to believe that the British are selfish and warlike and dishonest "vermin."  However, even beyond his disgust, the king develops a rather violent antipathy to both Gulliver and his countrymen when Gulliver tries to tell him about the wonderful virtues of an invention called gunpowder.  Gulliver describes the great damage it can do in almost gleeful terms, speaking about men's limbs positively raining from the skies after their owners have been blown apart by gunpowder's awe-inspiring power.  The king is less than impressed.
The king's response to Gulliver shows just how gentle and wise he is.  Fundamentally benevolent, honest, and peace-loving, the king seems to assess the British in the way that Swift would like the reader to do; it's a rather harsh way to characterize the reality he wished to satirize, but satire is often caustic. 

What are the similarities between A Streetcar Named Desire and To Kill a Mockingbird?

Although To Kill a Mockingbird, a novel by Harper Lee, and Streetcar Named Desire, a play by Tennessee Williams, are very different, they do have similarities. Some of them are:
Both are set in the southern U.S. The novel is set in Alabama, and the play is set in Louisiana.
Both stories address the issue of rape. Mayella Ewell falsely accuses Tom Robinson of raping her, and it is suggested that her father may have sexually assaulted her. Blanche is raped by Stanley at the end of the play.
Both stories involve a gun death. Prison guards shoot Robinson as he attempts to escape, and Blanche's young husband committed suicide by shooting himself.
Both stories feature a strong female hero. Although it might seem odd to compare Scout to Blanche since they are very different, each is a female who is opinionated and flouts societal conventions. Scout is a tomboy, and Blanche is a woman who has had many sexual partners, including an underage boy.
Both the novel and the play highlight class differences. Scout becomes aware of the way people of various social classes and races are treated in Maycomb, and Blanche, who represents a vanishing Southern upper class, finds herself living among those she considers to be of a lower class and racially inferior (Stanley, whom she labels a "Polack").
In both stories, the female protagonist experiences a loss of innocence. Scout learns about adult issues like rape, racial injustice, mental illness, and violence when she is an impressionable young child. Blanche's backstory includes her experiencing the deaths of multiple family members, financial ruin, being married to a closeted homosexual, and the suicide of her husband when she was still a young woman.
Although the novel and play are very different, they share multiple similarities.

Single Variable Calculus, Chapter 3, 3.1, Section 3.1, Problem 38

Suppose that a particle moves along a straight line with equation of motion
$s = f(t) = t^{-1} -t$ , where $s$ is measured in meters and $t$
in seconds. Determine the velocity and the speed when $t=5$.



Based from the definition of instantaneous velocity,



$
\quad
\begin{equation}
\begin{aligned}
\nu (a) &= \lim\limits_{h \to 0} \frac{f(a+h) - f(t)}{h}\\
f(t) &= t^{-1} - t = \frac{1}{t} -t
\end{aligned}
\end{equation}
$



$
\quad
\begin{equation}
\begin{aligned}
\nu(t) &= \lim\limits_{h \to 0 } \frac{\left[ \frac{1}{t+h} - (t+h) \right] - \left[ \frac{1}{t} - t \right]}{h}\\
\nu(t) &= \lim\limits_{h \to 0 } \frac{\frac{1-(t+h)^2}{t+h} - \frac{(1-t^2)}{t}}{h}\\
\nu(t) &= \lim\limits_{h \to 0 } \frac{t-t(t+h)^2 - (1-t^2)(t+h)}{t(t+h)h}\\
\nu(t) &= \lim\limits_{h \to 0 } \frac{ \cancel{t} - \cancel{t^3} - 2t^2h - th - \cancel{t} + \cancel{t^3} - h + t^2h}{t(t+h)h}\\
\nu(t) &= \lim\limits_{h \to 0 } \frac{-t^2h-th^2-h}{t(t+h)h}\\
\nu(t) &= \lim\limits_{h \to 0 } \frac{\cancel{h}(-t^2 - th - 1)}{t(t+h)\cancel{h}}\\
\nu(t) &= \lim\limits_{h \to 0 } \frac{-t^2-th-1}{t^2+th}\\
\nu(t) &= \frac{-t^2-t(0)-1}{t^2+t(0)}\\
\nu(t) &= \frac{-1-t^2}{t^2}\\
\nu(t) &= \frac{-1}{t^2} - \frac{t^2}{t^2}\\
\nu(t) &= \frac{-1}{t^2} - 1
\end{aligned}
\end{equation}
$



The velocity after $5s$ is $\displaystyle \nu(5) = \frac{-1}{5^2} - 1 = \frac{-26}{25} \frac{m}{s}$



A negative velocity means that the particle moves in opposite direction the way it should be.
Assuming that the function is moving to the east.



Therefore, the speed and velocity of the particle are $\displaystyle \frac{26}{25} \frac{m}{s}$ and
$\displaystyle \frac{26}{25} \frac{m}{s}$ west respectively.

What was the second book Liesel (from The Book Thief) stole?

The second book that Liesel steals is called The Shoulder Shrug.
She stole her first book, The Grave Digger's Handbook, on January 13, 1939, and this second, The Shoulder Shrug, on April 20, 1940, the Fuhrer's birthday. So, more than a year has passed between her actions.
The Shoulder Shrug is one of three books that don't burn in a bonfire that was lit to celebrate the Fuhrer. Nazis have collected books that they deem to be "propaganda" from every house to use as fodder. Liesel sees the un-burned book among the ashes and the ruin and steals it. She describes the book as burning her (from the heat of the fire) when she holds it against her chest to hide it as she walks away.
The book not burning in the fire ties back into a central theme of The Book Thief: no matter how hard anyone tries, knowledge and ideas can never be fully eradicated.

The text tells us that Liesel owned a total of fourteen books. Of the fourteen, ten were most important to her in terms of her life story. We also learn that six of the books were stolen by Liesel.
The first book she stole was The Grave Digger's Handbook: A Twelve-Step Guide to Grave-Digging Success. 
The second book Liesel stole was The Shoulder Shrug. Liesel called the stealing of this book her "second success story." The book was blue, with red writing on the cover. There was also a picture of a cuckoo bird under the title. The text tells us that Liesel stole this second book on April 20th, the day of the Fuhrer's birthday. She saved it from the fire before the book was burned by Nazi soldiers.
The protagonist of The Shoulder Shrug was Jewish, and Liesel was glad that he was portrayed in a positive light.

College Algebra, Chapter 1, 1.6, Section 1.6, Problem 64

Solve the nonlinear inequality $\displaystyle \frac{x}{x+1} > 3x $. Express the solution using interval notation and graph the solution set.

$
\begin{equation}
\begin{aligned}
\frac{x}{x+1} & > 3x\\
\\
\frac{x}{x+1} - 3x & > 0 && \text{Subtract } 3x\\
\\
\frac{x-3x^2-3x }{x +1 } & > 0 && \text{Common denominator}\\
\\
\frac{-3x^2-2x}{x+1}& > 0 && \text{Simplify the numerator}\\
\\
\frac{-x(3x+2)}{x+1} & > 0 && \text{Factor out} -x\\
\\
\frac{x(3x+2)}{x+1} & < 0 && \text{Divide by } -1
\end{aligned}
\end{equation}
$


The factors on the left hand side are $x$, $3x+2$ and $x+1$. These factors are zero when $x$ is 0, $\displaystyle \frac{-2}{3}$ and -1 respectively. These numbers divide the real line into intervals
$(-\infty, -1) \left( -1, -\frac{2}{3}\right), \left( -\frac{2}{3}, 0\right), (0,\infty)$




From the diagram, the solution of the inequality $\displaystyle \frac{x(3x+2)}{x+1} < 0$ are
$\displaystyle (-\infty,-1) \bigcup \left( -\frac{2}{3}, 0 \right)$

How does the mariner's guilt shape the direction of Coleridge's "The Rime of the Ancient Mariner"? Consider the stages his thoughts go through after he shoots the albatross and whether they follow in logical succession or proceed in a more random manner. In the end, is it his own forgiveness he seeks, or that of someone or something outside of himself?

After shooting the albatross, the Mariner's guilt is tempered by the reactions of his crew mates. At first they condemn his crime, only to change their minds when the weather seems to improve. They then turn on him again when the wind drives them into dangerous waters. After the deaths of the rest of the crew, the Mariner is forced to live with his guilt and the accusation in the dead faces of his crew mates. When he is able to pray again he finds his guilt is lifted a little, but after surviving the voyage he decides to wander the earth as penance, telling the tale of the poem as a confession. His guilt is both insular and part of his realization that all of creation is to be celebrated, while the lengths of his self-loathing are partly dictated by the world around him.

What are some Functions, Elements, and Expressions of Culture

"Culture" can be difficult to define. It's easier to describe a culture in terms of the elements that characterize it, the functions it performs, and the way it is expressed, as these are what represent culture in practical terms.
Elements of culture can be very broad. An element of a culture is simply something, an object or symbol, which exists in the culture and has some importance. For example, in the UK, it is an element of culture that tea is drunk in almost every circumstance; in the US, the equivalent element would be coffee, so this marks a cultural difference. In Victorian culture, flowers had a particular significance and were understood to convey certain meanings, a cultural element which has now been lost. Elements of culture might also include using these objects for ritual purposes; the elements have meaning because they are connected to a culture's particular history and understanding, and might not mean the same thing elsewhere.
The expressions of culture might include the art a culture produces, but also the stories it tells and the ways in which these stories are cast, which rely upon the culture's shared history and understanding. A culture's music, the names it gives to its children, and the ceremonies by which it practices its religion are all cultural expressions.
The function of culture, really, is to give people a sense of belonging and a sense of self. Culture gives us a structure within which to understand ourselves, and a set of social norms by which to live. Culture helps maintain order in society and creates a sense of unity which fosters community feeling.
http://changingminds.org/explanations/culture/elements_of_culture.htm